OLD SOULS

PROGLAND DISTRICT COURT - MONTREAL CANADA CASE No 147-22 ATTENDING JUDGE: tszirmay of the Prog Archives Legal Dept. The PROSECUTION: Ignoramus Bosch The ACCUSED: Rick Miller The CRIME: section 6b of the Prog criminal code: Blatant plagiarism of established Prog legend Pink Floyd RECENT JURISPRUDENCE: Dave Kerzner - New World

The DEFENDANT: Richard Norman Miller is a Canadian composer, arranger, and musician, starting out in 1983 and amassing a whopping 16 studio albums. His true musical inspiration is firmly entrenched in the atmospheric style of symphonic prog, with clear appreciation for artists such as Pink Floyd, the Moody Blues, Genesis and Steve Hackett. His latest opus "Old Souls" was released on January 6, 2022.

The EVIDENCE: Discography Starsong (1984), Interstellar Passage (2000), The One (2003), Dreamtigers (2004), The End of Days (2006), Angel of My Soul (2008), Falling Through Rainbows (2009), In the Shadows (2011), Dark Dreams (2012), Immortal Remains (2013), Heart of Darkness (2014), Breaking Point (2015), Delusional (2018), Belief in the Machine (2020) and Unstuck in Time (2020).

Both 2020 albums, "Unstuck in Time"and "Belief in the Machine" were stellar efforts that received the highest praise among PA panel of Collabs Tcat and kevrowland. Interesting to note that on progpositivity's review 2408326 of the latter albums, Mark clearly explains in paragraph 2 the similar aspects to PF in detail. But in paragraph 3, "This music has some differences from Pink Floyd that are worth noting" and proceeds to enumerate a fine set of factual realities that illuminates the argument for dismissal.

THE CASE: There are approximately 59,673 guitarists who have studied Gilmour as being one of the most influential of all-time, so Barry Haggarty or Kane Miller are just part of the faculty of the School of Rock and they do not disappoint throughout the recording. "Old Souls" kicks off 2022 with a brief bang that settles into an extended atmospheric voyage on "Time's Way", a languorous sweep where the electric guitar leads the way, Rick's deft keyboards and sultry hushed voice (quite different from David or Roger) in tow, a tight binary shuffle gently chaperoning. Just lovely. The charming "Guinevere" introduces a mournful cello, a galloping horse and some subtle acoustic, adding to the neo-medieval choirs and Rick's fragile voice, as pastoral as melancholia will ever get, "a tearful song" draped in the most beautiful melody. Beauty remains at the forefront with the poignant "Haunt Me", displaying a simple melodic elegance, dancing with a softly entranced lead guitar. Miller does not try to reinvent the wheel, he just expresses melody like no other, in a way more romantic fashion than the Battersea Station foursome. The somber cello echoes once again (as it will regularly again) , providing a most profound foundation for the melancholia , though on Virgin Rebirth" the pace picks up swiftly, a nimble synth motif egging the beat along , as the lead guitar wails in the blue skies above, before settling down to calm serenity. The blue skies turn red on "The Red Sky", where the classical toys enter the fray, delicate cello and flutes settle the score, as the piano eventually carves out the theme, in the most soothing and relaxed manner possible, unrushed, and mature. Rick's sorrowful vocal lament and spooky organ flurry welds with "angel's cry". Mateusz Swoboda' s cello buries the heartbeat. Celestial choruses greets " Ixtlan Awaits" , a faraway destination where there are subtle, sunny psychedelic reminders of Pompeii perhaps at the beginning , but then swerve into experimental oddity halfway through , only to rekindle the soft brightness as 'the dying sun has shone on you now', as the guitar lights up the darkening horizon.

"A Stitch in Time" is the owner of a magnificent flute refrain, adorned with sitar-like Taj Mahalian sounds, followed by a soprano synth ripple, and that tight beat keeping the heart pumping. The vocal recalls the early motif and instills a mesmerizing phrasing that edges on euphoria. Companion piece "Lost Karma" is again drenched in gorgeous melody, once again conducted by the magical flute (an instrument rarely if ever displayed by the Meddlers, who had a marked preference for the saxophone, me thinks).

"Don Quixote" is the master blaster epic on this release, clocking in over a dozen minutes, and pretty much serves to sum up all the inherent qualities of Rick Miller's music: the swooping sounds, the crystal-clear sound, the moody atmospherics, the slick flute and cello work, the sizzling guitar expressions and the rather expected Spanish guitar flourishes that seek to evoke the 'famed' windmill threat. Musical story telling at its most suggestive, with segments that clearly go beyond the frivolous and boring. The extended lead guitar solo is quite an achievement, sonic pirouettes laden with emotion and despair. To have the class of following up with acoustic guitar, percussion and cello to settle the warm Andalusian sun, well, its darn near perfect.

A reprise of the glorious first track puts the "Old Souls' to bed. The defense (the music) has spoken and now rests.

Finally, Mister Waters, in response to your incessant interference, I must state that you have made your "Money" and you are, without any known competition, the greatest political activist, narcissist millionaire and grumpy old man on social media (by your own words). You should be honored and humbled that, at least for musicians world- wide of all ages, your MUSIC remains a source of inspiration and creativity. As Pink Floyd, of course. But let's face it, Rick Miller has provided more PF music in terms of hours and minutes than you ever did in the same period of time, so please, just suck it up.

The VERDICT: NON COUPABLE (the Box's ''L'Affaire Dumoutier'' playing in the background)

4.5 Ancient spirits

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